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"Goad, Philip"
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Australia Modern : architecture, landscape & design
From the Sydney Opera House and the National Gallery of Victoria to sought-after homes across the country, the pervasive presence of modernism is inescapable in Australia. Led by the likes of Robin Boyd, Harry Seidler and Walter Burley Griffin, modernist architects and designers set out to rebuild at all scales, from vast infrastructure projects, to public health and education institutions, to new centres of culture, consumption and leisure. Australia Modern vividly captures this architectural legacy with a survey of 100 significant modern sites, richly illustrated with archival images and newly commissioned photographs. Contextual essays by leading voices in architecture and conservation explore modernism's influence on every facet of life in Australia and the ongoing challenges facing preservation. Showcasing projects from the iconic and the urban to the everyday, the regional and the lesser known, Australia Modern cultivates an appreciation for the modern architects and buildings that will increasingly constitute the heritage of tomorrow.
Book
Designing Woodleigh School: educator and architects in context
Purpose
– The purpose of this paper is to examine the professional context of the educator and architects who designed and conceived Woodleigh School in Baxter, Victoria, Australia (1974-1979) and to identify common design threads in a series of schools designed by Daryl Jackson and Evan Walker in the 1970s.
Design/methodology/approach
– The research was derived from academic and professional publications, film footage, interviews, archival searches and site visits. Standard analytical methods in architectural research are employed, including formal, planning and morphological analysis, to read building designs for meaning and intent. Books, people and buildings were examined to piece together the design “biography” of Woodleigh School, the identification of which forms the basis of the paper's argument.
Findings
– Themes of loose fit, indeterminate planning, coupled with concepts of classroom as house, and school as town, and engagement with a landscape environment are drawn together under principal Michael Norman's favoured phrase that adolescents might experience “a slice of life”, preparing them for broader engagement with a world and a community outside school. The themes reflect changing aspirations for teenage education in the 1970s, indicating a free and experimental approach to the design of the school environment.
Originality/value
– The paper considers, for the first time, the interconnected role of educator and architect as key protagonists in envisioning connections between space and pedagogy in the 1970s alternative school.
Journal Article
Houses
Sean Godsell, an award-winning pioneer of \"Australian bush minimalism\", has established himself as an influence on the global architecture scene. This survey of his residential architecture features twelve houses and dwellings across Australia, each illustrated with full-colour photography and the architect's hand-drawn plans and exploratory sketches, which illuminate how each house connects to its surrounding landscape. 0Featuring an essay by Godsell about the influences of Australia's particular landscapes and culture, this survey also includes an introduction by leading critic and commentator Philip Goad about the achievements of Godsell's career, and the global importance of his visionary designs. With a complete illustrated chronology.
Book
The metaphorical expression of Nature in Jørn Utzon's design for the Sydney Opera House
Both before and after his forced resignation from the charge of the Sydney Opera House (1956–66)in 1966, Danish Architect Jørn Utzon (1918–2008) has cited Chinese architecture as one of the most important inspirational sources of his unfinished masterpiece. However, the significance of Chinese building culture has largely been overlooked in historical accounts of Utzon's Opera House design. This is despite ample evidences suggesting several direct analogies of Chinese architecture in Utzon's design proposals. The evidence also indicates that one of the key Chinese sources for Utzon comes from the written works of Finland-born and Sweden-based art historian Osvald Sirén 喜龍仁 (1879–1966). Accordingly, this paper aims to identify Utzon's perception of Chinese architecture from Sirén's interpretation of this subject, and Utzon's eventual reinterpretation of this notion in his design of the Sydney Opera House. The article poses four questions. First, what were the socio-political contexts both of Sirén and Utzon's approach to Chinese architecture? Second, how did Sirén interpret Chinese architecture in his scholarly work? Third, what was the interrelationship between Sirén and Utzon? And fourth, how did Utzon reinterpret Sirén's concept in his design for the Sydney Opera House? To respond to these questions, the authors surveyed the literature associated with Sirén and Utzon, reviewed their private collections, and undertook interviews with their friends, colleagues and followers. On this basis, the authors constructed a series of ideological analogies between Sirén and Utzon's work, with particular emphasis on Utzon's design for the Sydney Opera House.
Journal Article
Architecture and the modern hospital : Nosokomeion to Hygeia
\"More than any other building type in the twentieth century, the hospital was connected to transformations in the health of populations and expectations of lifespan. From the scale of public health to the level of the individual, the architecture of the modern hospital has reshaped knowledge about health and disease and perceptions of bodily integrity and security. However, the rich and genuinely global architectural history of these hospitals is poorly understood and largely forgotten. This book explores the rapid evolution of hospital design in the twentieth century, analysing the ways in which architects and other specialists re-imagined the modern hospital. It examines how the vast expansion of medical institutions over the course of the century was enabled by new approaches to architectural design and it highlights the emerging political conviction that physical health would become the cornerstone of human welfare\"-- Provided by publisher.
Book
The metaphorical expression of Nature in Joern Utzon's design for the Sydney Opera House
Both before and after his forced resignation from the charge of the Sydney Opera House (1956-66)in 1966, Danish Architect Joern Utzon (1918-2008) has cited Chinese architecture as one of the most important inspirational sources of his unfinished masterpiece. However, the significance of Chinese building culture has largely been overlooked in historical accounts of Utzon's Opera House design. This is despite ample evidences suggesting several direct analogies of Chinese architecture in Utzon's design proposals. The evidence also indicates that one of the key Chinese sources for Utzon comes from the written works of Finland-born and Sweden-based art historian Osvald Siren ...e34ae>> (1879-1966). Accordingly, this paper aims to identify Utzon's perception of Chinese architecture from Siren's interpretation of this subject, and Utzon's eventual reinterpretation of this notion in his design of the Sydney Opera House. The article poses four questions. First, what were the socio-political contexts both of Siren and Utzon's approach to Chinese architecture? Second, how did Siren interpret Chinese architecture in his scholarly work? Third, what was the interrelationship between Siren and Utzon? And fourth, how did Utzon reinterpret Siren's concept in his design for the Sydney Opera House? To respond to these questions, the authors surveyed the literature associated with Siren and Utzon, reviewed their private collections, and undertook interviews with their friends, colleagues and followers. On this basis, the authors constructed a series of ideological analogies between Siren and Utzon's work, with particular emphasis on Utzon's design for the Sydney Opera House.
Journal Article
Building Diplomacy
Buildings that represent nations—embassies—can be potent cultural diplomats. In addition to satisfying the functional requirements of diplomatic business and housing embassy staff, one of the most valuable attributes of an embassy or foreign mission building is its symbolic capital. An embassy can signal international neutrality. It can signal political ties. It can tell national stories—some selective, some inclusive—but rarely, of course, will it relate unwanted ones. There is also the necessary measure of welcome expected in any embassy complex. That is part of an embassy’s role: to assume in physical form the role of the diplomat;
Book Chapter
Jørn Utzon's synthesis of Chinese and Japanese architecture in the design for Bagsværd Church
In his essay of 1983, ‘Towards a Critical Regionalism’, Kenneth Frampton referred to the Bagsværd Church as a primary exemplar, briefly citing the architect's representation of ‘the Chinese pagoda roof’ in this project, to emphasise the importance of crosscultural inspiration in the creation of ‘critical regionalism’. Peter Myers followed Frampton in his 1993 ‘Une histoire inachevée’, arguing for the significant role that Chinese architecture played as a source for Utzon's Bagsværd Church design and further variations on the theme of Chinese and Japanese exemplars on Utzon's work follows. Françoise Fromonot established the importance of the 1925 edition of the Yingzao-fashi (State Building Standard, first published in 1103 ad) and Johannes Prip-Møller's 1937 Chinese Buddhist Monasteries for Utzon; Philip Drew pointed out the significance of the work of Chinese writer Lin Yutang (1895–1976) and historian Osvald Sirén (1879–1966) as important channels through which Utzon perceived East Asian art and architecture; while in 2002, Richard Weston suggested Das Japanische Wohnhaus (1935), written by Japanese architect Tetsuro Yoshida (1894–1956), as a formational influence in Utzon's early perception of Japanese building culture. However, none of these works attempt to clarify the precise role that Chinese and Japanese precedents play in Utzon's architectural career. Two more recent studies, by Philip Goad and Michael Asgaard Andersen, have confirmed the role of Chinese architecture in Utzon's church design and have introduced new evidence and details, but there are still unanswered questions about the exact nature of these influences. This article attempts to address the detailed process of Utzon's cross-cultural practices for his design of the Bagsværd Church in order to reveal how Utzon interpreted specific ideas, ideals, and artefacts from East Asian building culture.
Journal Article
Chinese Colours and the Sydney Opera House (1956-1966): Jørn Utzon's Reinterpretation of Traditional Chinese Architecture
Throughout his life, Danish architect Jörn Utzon (1918-2008) was obsessed with traditional Chinese architecture, which played a crucial role in his colour schemes for the Sydney Opera House (1956-1966). However, current scholarship has not yet provided a detailed and rigorous discussion of Utzon's deliberate analogies with Chinese colours. This article seeks to clarify Utzon's artistic debt to China, by closely examining his colour proposals for the Sydney Opera House. Utzon's Opera House colours represent a unique matrix of cultural dissemination and transformation between China, Scandinavia and Australia; a subtle manifestation of cross-cultural influence and mastery of design within the history of modern architecture. This article contributes to the potentially rich historiography on the relationship between Utzon's designs for the Sydney Opera House and his own growing understanding of traditional Chinese architecture. We contend that traditional Chinese architecture functioned as an impetus to confirm Utzon's unique design convictions. The scope of this article is to understand Utzon's Sydney Opera House as a significant example of cross-cultural dissemination and transformation between China, Scandinavia and Australia within the history of modern architecture.
Journal Article
This is not a type: Robin Boyd's \Victorian Type\ and the expression of the modern house circa 1933-1942
Robin Boyd described the Victorian house in his book \"Victorian Modern\". Philip Goad has examined Boyd's Victorian Type and believes that it does not represent a single type.
Magazine Article